martin wickramasinghe essay grade 6

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The Aesthetic through and beyond Capital: Speculations on Martin Wickramasinghe's Gamperaliya and Viragaya

2019, Postcolonial Text

This article addresses the question of how one may historicize aesthetic change, especially in the context of the third-world novel, by conceiving the aesthetic as a historically contingent category that mediates between the singularity of form and the particularity of content. This question is supplemented by a discussion of the aesthetic modes of two Sinhala novels: Martin Wickramasinghe’s Gamperaḷiya (1944) and Virāgaya (1956). The method of historicizing that is proposed involves two interpretative levels that follow the contours of Dipesh Chakrabarty’s categories of History 1, or history posited by capital, and History 2, or histories outside the life processes of capital. While History 1 enables a totalizing interpretation which allows Gamperaḷiya and Virāgaya to be thought of as embodying a narrative/realist aesthetic and affective/modernist aesthetic respectively, History 2 enables a close scrutiny of specific aspects of aesthetic mediation and play which complicate History 1’s totalizing and often Eurocentric thrust.

Related Papers

Rajendran Chettiarthodi

Transcending psychological inhibitions caused by colonial encounter in the comprehension of the past is a daunting task in aesthetic discourses, given the fact that colonial paradigms are difficult to erase and contemporary public spaces of art like Museums, as argued by Edward Said are colonial projects. India's perceptions related to the creation, nature, and evaluation of arts has gone a sea change in the colonial period which created a sort of alienation towards the manifestation of indigenous culture among the colonial subjects. Apart from this, the nature of performance, display, patronage venue, audience and space all underwent far reaching transformations in the process. Leela Gandhi demonstrates that in its reflexive modality, post colonialism holds out the possibility of thinking our way through and out of the historical imbalances and cultural imbalances produced by the colonial encounter.1However, in the retrieval of traditional discourses, distortions are bound to happen when using modern terminology , especially as Aesthetics itself happens to be a non indigenous discipline. Despite these severe methodological constraints, the present paper proposes to explore the relationship between the aesthetic theory formulated by thinkers like Abhinavagupta and praxis related to the creation, experience and evaluation of art forms like the performance arts , painting and sculpture in Precolonial India. The paper will focus on the extant and limitations of the inter relatedness with a view to bring to the fore the tensions involved and the insights they could yield in contemporary attempt to make sense of theory and praxis.Apart from the theoretical works, the sources which are being consulted would comprise self reflexive statements of multi faceted artists like Kalidasa who have occasion to deal with art in its various manifestation in the representation of life. It is hoped that such an exercise will be of some use in the comprehension of tradition and for some sort of self reflexivity in contemporary times especially in addressing issues of identity of Indian art. Needless to say, the paper distances itself from any type of exhortations to 'return to the past' as the present writer feels that tradition in its most creative phase is always dynamic and experimental. Tradition is only one of the resources for the creative spirit.. It is indeed a daunting task to locate the conventional precolonial discourse which could be the exact counterpart of modern aesthetics which would discuss problems related to theory and praxis. Natyasastra , the seminal and iconic text of performing arts of India is virtually an encyclopedia of Indian arts in which the center piece is dramatic performance, but which incidentally discusses allied arts like music and dance. In one way, it is the edifice on which the entire aesthetic thought of India is built. Texts like 1 1 Leela Gandhi, Post Colonial Theory, p.176.

Arthur Dudney

Published in A Sense of Place: Essays in Post-Colonial Literature, ed. Britta Olinder, Gothenburg: Gothenburg University, 1984: 142-50.s

John Thieme

Katherine Butler Schofield

How do we write histories of the ephemeral: of affective and sensory experience, of devotional states and journeys, of the live performance of music and dance—of the tangible yet transient texture of the experiential moment? More critically, how do we write such histories when the moment has long passed into silence? Can emotion, devotion and the arts tell us critical things about the harder-edged worlds of political, economic and social history that we couldn't otherwise access? What is the relationship between the aesthetic, the affective, the ethical and the political in South Asian history? These are some of the questions these three important volumes of essays raise and begin to answer. I say begin, because all three are pioneering, and while they open wide the gates onto ill-explored country, there are many miles left to tread before we will be able to see even the extent of the terrain spread out before us.

Jagath Weerasinghe

positions: east asia cultures critique

Jenson Joseph

For the earliest attempts in Malayalam cinema seeking to evolve a poetic aesthetic, the paradoxical relation toward urban modernity that emerged among the middle class by the middle of the twentieth century—defined by antagonism as well as fascination—operated as the axis around which new spectatorial relations could be maneuvered. This article takes up for discussion two Malayalam films from the mid-1950s—Newspaper Boy (dir. P. Ramadas, 1955) and Rarichan enna powran (Citizen Rarichan, dir. P. Bhaskaran, 1956)—as cinematic experiments in conceiving the urban space from two influential ideological positions, and as attempts in adapting to modernist idioms of international cinema. Modalities of imagining the urban space, the author argues, attained crucial historical significance in aesthetics and politics: it enabled the cultural producers to aesthetically situate the films within global cultures of cinema, thus invoking and molding the contemplative viewer; politically, these films mark the earliest attempts to conceive the region's relation to modernity through the grids of imagining the urban.

Sharad Deshpande

Balirano, G. 2008. Indian Diasporic Aesthetics as a Form of Translation. In Ciocca, R. / Laudando, M. (eds), Indiascapes: Images and Words from Globalised India. Anglistica AION: An Interdisciplinary Journal 12(2) [Special Issue]: 87-96.

Giuseppe Balirano

Indian diasporic creativity, although exclusively produced in one “source” language, English, seems to rely on some techniques typically used in translation. Translation studies have indeed recognized that in every act of translation the source text is inevitably transformed. This form of transformation in postcolonial productions is mainly realised by the employment of specific linguistic devices with the aim of representingthe lives and adventures of diasporic characters who, rather than speaking English, are portrayed as dubbed or translated into English. Therefore, new questions are inevitably raised about the original and the adapted version, the source and the target, the text and the context, the content and form of Indian diasporic aesthetics. The paper focuses on some Desi creative features employed to de-colonize culture from both the Western ex-colonizers and the more ‘traditional’, national or even post-national cultures which deny the importance of hybrid productions by marginalizing them. A multimodal analysis of Jhumpa Lahiri’s The Namesake (2003) and its homonymous filmic translation by Mira Nair (2007), is aimed at decoding typical Desi media practices and discourse(s) as new forms of narration in diasporic representations.

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Grade 06 Sinhala Unit 17 | Martin Wickramasinghe

Grade 06 Sinhala Unit 17 | Martin Wickramasinghe tutorial

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Martin Wickramasinghe, a nationalist sans prejudice - W.A. Abesinghe

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Martin Wickramasinghe

Martin Wickramasinghe (Sinhala: මාර්ටින් වික්‍රමසිංහ; Tamil: மார்ட்டின் விக்கிரமசிங்க) (1890-1976) was a Sri Lankan novelist, short-story writer, critic, essayist and editor. He is considered a pioneer writer of modern Sinhala literature.

Life Events

Wickramasinghe was born on 29 May 1890 in Koggala to a family of the village headman class in the Southern Province (Abhayasundere & Wijayarathna, 2022). His formal education at his village school lasted less than 5 years and at the age of fourteen, he was forced to leave Koggala for Colombo and Batticaloa in search of employment (Abhayasundere & Wijayarathna, 2022). His professional life as a writer started in 1920 at the Lake House group of newspapers where he became an editor of the daily Dinamina and the Sunday Silumina (Gunawardena, 2003).

Wickramasinghe's life as a novelist began with  Leela  in 1914 (Gunawardena, 2003). His trilogy of Gamperaliya (1944), Yuganthaya (1948) and Kali Yugaya (1957) depicted the impact of modernising influence on a southern coastal village (Gunawardena, 2003). The novel Viragaya which was regarded by many as the finest work of fiction in Sinhala was published in 1956 (Gunawardena, 2003). His work  Gamperaliya was turned into a movie in 1963 by Lester James Pieris and it won several international awards including the Indian Golden Peacock Award for the best film in 1964. 

Wickramasinghe was not only a master of Sinhala and English but Sanskrit and Pali languages as well (Abhayasundere & Wijayarathna, 2022). He has written 96 books and a large number of articles and papers on the culture and civilization of the Sinhala people over a period of more than 50 years (Abhayasundere & Wijayarathna, 2022). A number of his works have been translated and published in English, Hindi, Tamil, Russian, Chinese, Romanian, Dutch, German, French and Japanese languages (Abhayasundere & Wijayarathna, 2022; Senanayake, 2016).

Wickramasinghe passed away on 23 July 1976 at the age of 86.

Publications

Wickramasinghe has published 14 novels and 104 short stories in 8 collections in Sinhala (Gunawardena, 2003). His publication list also includes 40 books of non-fiction prose writing in Sinhala as well as in English covering a range of themes in Buddhism, art, literary criticism, philosophy, cultural anthropology and history (Gunawardena, 2003).

Of the Novels, the Madol Doova was translated into Russian (1954), Bulgarian (1961), Chinese (1961), Romanian (1962), English (1968), Dutch (1979), Tamil (1993 and Japanese (2002) languages and made into a film in 1976 (Gunawardena, 2003). The novel Viragaya was also translated into English ( The Way of the Lotus , 1985), Tamil (1992) and French (1995) and made into a film in 1987 (Gunawardena, 2003). Wickramasinghe's trilogy Gamperaliya , Kaliyugaya and Yuganthaya were published in the Russian language in 1975 while Gamperaliya was published in Tamil in 1964 (Gunawardena, 2003). The  Gamperaliya , Kaliyugaya and Yuganthaya were made into films in 1963, 1981 and 1983 respectively (Gunawardena, 2003).

Short story collections

Several short story collections of Wickramasinghe have been published in the Russian (1958, 1970) and Chinese (1961) languages (Gunawardena, 2003).

Literary Criticism

The book Sinhala Sahityaye Negima (Landmarks of Sinhala Literature) was published in English in 1948 (Gunawardena, 2003).

Evolution and Anthropology

Autobiography.

The Ape Gama was translated into English in 1958 by the name "Lay Bare the Roots" (Gunawardena, 2003).

Books in English

Besides the movies, Wickramasinghe's three novels and a few short stories have been made into television series (Gunawardena, 2003).

Wickramasinghe was bestowed several honours and awards for his contribution to modern Sinhala literature.

# Membership of the Order of the British Empire by Her Majesty Queen Elizabeth II in person (1954) # Best newspaper article ( The fall of the Brahmin Class , 1956) # Don Pedric Award for the best novel of the year ( Viragaya , 1957) # Honorary PhD by the Vidyodaya University (1960) # Doctorate in Letters (DLitt) by the University of Ceylon (1963) # UNESCO Award for his book "The Rise of the Soviet Land" (1964) # DLitt by the Vidyalankara University (1964) # DLitt by the University of Ceylon (1970) # The first Presidential Award for Literature (1974)

Martin Wickramasinghe Trust

The Martin Wickramasinghe Trust was established in 1976 after the death of Wickramasinghe with the objectives of preservation of manuscripts, first editions of all books, tape recordings and photographs related to his life and work. Wickramasinghe's library which consisted of over 5,000 volumes in several languages was gifted to the government by the Trust and it is now available for reference in the Martin Wickramasinghe Hall of Literature at the National Library in Colombo (Gunawardena, 2003). Presently, Wickramasinghe's birthplace in Koggala is maintained as a  Museum of Folk Culture  by the Trust.

1) Abhayasundere, P.N. and Wijayarathna, W.K.M., 2022. Anthropological gleanings of the work of Martin Wickramasinghe. Vidyodaya Journal of Humanities and Social Sciences VJHSS (2021), Vol. 06 (02). pp.55-64 2) Gunawardena, C.A., 2003. Encyclopedia of Sri Lanka. Sterling Publishers Pvt Ltd. ISBN: 81-207-2536-0. pp.308-312. 3) Senanayake, C.J., 2016. Work and utopia in the fiction of Martin Wickramasinghe and James Goonewardene (Doctoral dissertation, Monash University). p.9.

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